AS 


ADDRESS, 


CVl  OF  Pfi/iy^ 
82  1932 


DELIVERED     BEFORE    THE 


HASTINGS  AND   MASO» 


sffV£S€«fiA  ^ss^smss^ser, 


At  Pittsfield,  December  25,  1§37. 


BYr  EDWARD  W.  HOOKER, 

?iSIOR  OF  THE  FIRST  CONGREGATIONAL  CHURCH  IN  BENNINGTON,  YE&2(OXf. 


PUBLISHED  BY  REQUEST  OF  THE  ASSOCIATION. 


PITTSFIELD  : 

FEINTED   BY    PHINEHAS   ALLEN   AND   SQ.V. 


APRIL*  i*$& 


FROM   THE   LIBRARY  OF 
REV.    LOUIS    FITZGERALD    BENSON.   D.  D. 

BEQUEATHED    BY   HIM   TO 

THE   LIBRARY  OF 

PRINCETON  THEOLOGICAL   SEMINARY 


ADDRESS 


ff  he  friends  of  Sacred  Music  have  occasion  for  gratitude  to 
God  and  encouragement  to  effort,  in  many  things  which  indicate 
the  advancement  of  this  important  part  of  divine  worship.  And 
of  music  generally,  both  sacred  and  secular,  there  is  far  more  to 
hope  than  in  many  former  years. 

Among  these  indications  are  the  following.  Associations  for 
the  promotion  of  sacred  music,  like  this  on  whose  performances 
we  attend  this  evening,  are  becoming  organized,  making  attain- 
ments, and  exerting  influence.  Smaller  Societies  and  Choirs  are 
promoting  the  object,  in  smaller  fields.  Teachers  are  more  nu- 
merous ;  and  generally,  better  qualified,  than  formerly,  both  as 
to  knowledge  of  their  profession,  and  moral  and  religious  charac- 
ter. Improvements  have  been  made  in  the  art  of  teaching  music. 
Collections  of  sacred  music  are  much  improved  in  their  charac- 
ter ;  and  those  which  deluged  our  congregations  and  vitiated  the 
taste  of  our  choirs,  formerly,  with  hasty,  crude,  quick-step  Amer- 
ican compositions,  have  nearly  passed  away,  and  given  place  to 
books  whose  editors  have  drawn  judiciously  and  richly  upon  the 
writings  of  scientific  musicians  of  past  ages  and  the  present.  So 
far  as  American  compositions  now  occupy  a  place  in  our  collec- 
tions, they  exhibit  American  talent  and  taste  to  much  better  ad- 
vantage and  far  more  to  our  credit,  than  formerly.  The  popu- 
larity of  such  tunes  as  New  Jerusalem,  New  Durham,  Florida, 
Stafford,  Northfield,  and  many  others,  in  which  one  part  or  an- 
other gives  chase  in  an  undignified  and  jingling  fugue,  we  think  is 
on  the  wane.  The  science  of  music  is  becoming  a  subject  of 
study,  more  than  in  past  years  ;  and  American  composers  are  less 
prolific  and  more  modest,  and  dip  their  pens  more  carefully,  fot 


qptDposition.  The  practice  of  holding  concerts,  a.i^d  of  improv- 
ing such  occasions  for  discussing  musical  subjects,  is  believed  to 
be  accomplishing  something,  for  raising  the  standard  of  taste  and 
promoting  correct  views  of  the  design  of  sacred  music.  The 
sentiment  has  been  advanced,  ar.d  is  gaining  ground,  somewhat, 
that  music  deserves  a  place  in  our  arrangements  for  the  education 
of  the  young.  We  may  also  congratulate  ourselves  on  the  es- 
tablishment, in  one  of  our  New-England  cities,  of  an  Academy 
for  the  education  of  teachers  of  music,  and  to  promote  the  edu- 
cation of  children  and  youth  in  this  art.  American  ingenuity, 
enterprize  and  taste  are  becoming  more  extensively  employed  in 
the  construction  of  instruments,  especially  those  of  the  larger  and 
permanent  kind.  So  that  the  city  is  not  now  the  only  place  where 
can  be  found  the  organ-builder  and  piano-maker,  and  manufac- 
turer of  smaller  instruments  ;  but  also,  here  and  there,  is  the 
country  village  to  which  resort  may  be  had,  by  Churches,  Socie- 
ties and  Choirs  in  their  vicinity,  for  instruments  With  this  we 
should  notice  the  greater  frequency  with  which,  now,  in  our  coun- 
try places  of  worship,  as  well  as  in  our  cities,  the  ear  is  greeted, 
and  the  soul  in  which  is  music,  is  elevated,  by  "  the  organ's  sol- 
emn peal  ;"  and  that  religious  assemblies  are  learning  to  prize 
this  noble  and  consecrated  instrument,  as  an  aid  to  religious  wor- 
ship. It  is  also  pleasant  to  find  the  piano-forte  or  the  organ  more 
frequently  in  the  family  residence  than  in  former  years. 

With  all  these  favorable  circumstances,  however,  we  should  not 
be  wise  in  concluding  that  all  has  been  done,  or  is  doing,  which 
is  necessary  to  make  our  sacred  music  what  it  should  be.  The 
circumstances  mentioned  are  evidences  of  a  reformation  com- 
menced, and  of  improvement  in  progress.  But  we  are  a  long 
distance  from  perfection,  in  our  music,  yet.  Much  remains  to  be 
done,  to  make  a  truly  and  generally  prosperous  state  of  the  art  ; 
and  to  place  American  music  in  advantageous  comparison  with 
that  of  other  countries. 

Let  not  the  speaker  be  judged  captious,  and  difficult  to  be  sat- 
isfied, for  the  remarks  just  made.  Look  at  another  set  of  fact? ; 
and  let  it  be  done  with  this  consideration  in  view, — that  mindful- 
ness of  our  defects  is  always  an  indispensable  requisite  to  im- 
jtrovement* 


Good  sacred  music,  in  the  strict  meaning  of  the  language,  i! 
still  wanting  in  a  great  proportion  of  our  congregations ;  and  in 
some  considerable  districts  of  Churches,  good  music  is  far  more 
frequently  heard  from  the  professional  vocalists  and  instrumental 
performers  at  the  theatre  ;  and  from  the  band  accompanying  the 
travelling  circus  or  the  caravan  of  wild  animals;  than  in  many 
places  of  worship.  Music  is  made  to  contribute  its  higher  at* 
tractions  to  the  scenes  of  amusement  and  circles  of  fashion  and 
dissipation.  And  the  Christian,  who  "  has  music  in  his  soul," 
as  he  passes  within  hearing  of  their  songs  of  soft,  though  unsanc- 
tified  harmony,  almost  stops  to  listen,  perhaps  quite  ;  and  goes 
his  way,  sick  at  heart,  that  many  a  Church  is  so  far  outdone  by 
the  men  of  the  world,  in  their  regards  for  an  art  so  justly  termed 
heavenly.  And  on  the  next  Sabbath,  perhaps,  in  some  place  of 
religious  worship,  he  hears  that  offered  in  sacrifice  to  God,  as 
sacred  music,  which,  from  its  discordancies,  or  other  faults,  would 
be  hissed  in  the  theatre,  and  jeered  and  laughed  at  in  the  social 
party.  Our  best  musical  associations  are  still  small  ;  and,  if  they 
be  regarded  as  a  fair  index  of  the  number  of  enterprizing  and 
deeply  interested  cultivators  of  the  art,  they  shew  that  they  com- 
pose a  mere  fraction  of  the  whole  community.  Even  in  this  good 
County  of  Berkshire,  with  the  name  of  which  is  associated,  in 
many  minds,  ideas  of  New-England  thoroughness,  liberality,  ef- 
ficiency, and  sound  and  enlightened  views  on  most  subjects  ;  even 
here,  the  musical  Association  assembled,  which  bears  its  name, 
and  stands  as  the  principal  representative  of  the  state  of  sacred 
music  and  the  number  of  its  friends,  counts  on  its  catalogue  of 
members  less  than  one  hundred  and  fifty.  The  Choirs  of  most 
of  our  Churches  and  Congregations  are  composed  of  very  small 
numbers,  compared  with  the  number  attending  our  places  of  wor- 
ship :  and  these  Choirs,  much  of  the  time,  are  in  a  low  state,  and 
their  performances  limited  to  a  small  number  of  tunes.  Too  fre- 
quently Churches  and  Congregations,  as  such,  do  nothing  for  the 
support  and  improvement  of  sacred  music  ;  leaving  it  a  burden 
and  expense,  both  as  to  time  and  money,  on  the  hands  of  their 
Choirs  and  a  few  publick  spirited  individuals  :  and  rather  than 
pay  a  reasonable  annual  stipend  to  keep  their  sacred  music  good, 
jput  up  with  "  confusion  worse  confounded,"  performed  as  sing* 


ingt  every  Sabbath.  Look  also  at  the  frequent  fact,  that  for  the 
revival  of  the  sacred  music  of  a  Church  and  Congregation,  and 
for  the  instruction  of  a  Choir  and  placing  their  performances  on 
a  good  basis,  dependence  is  too  commonly  placed  upon  having  a 
singing  school  "  got  up"  once  in  five  years  or  more,  and  a  teach- 
er employed  two  evenings  per  week  for  three  or  six  months,  to 
teach  thirty  or  forty  young  men  and  women  to  half  sing,  and  that 
mechanically,  some  fifty  tunes, — three  quarters  of  which  tunes  arc 
left  out  of  use,  forgotten,  or  cannot  be  sung,  within  three  months 
after  the  teacher  has  taken  his  departure.  A  system  of  instruc- 
tion, this, — if  system  it  can  be  called, — which,  if  applied  to  teach 
the  art  of  reading  language,  would  not,  once  in  five  years,  carry 
a  common  school  of  children  half  through  the  Spelling  Book. 
Look  also  at  this,  that  probably  not  one  professed  singer  out  of  a 
hundred,  if  indeed  one  in  five  hundred,  in  the  generality  of  our 
Choirs,  ever  reads  through,  attentively,  one  of  our  ordinary  col- 
lections of  music  Also,  among  those  who  are  called  singers, 
and  many  of  whom  can  perform,  respectably,  tunes  with  which 
they  have  become  familiar  by  considerable  practice;  probably  not 
one  in  a  hundred,  if  one  in  five  hundred,  can  read  music  "  at 
sight."  Let  a  Hastings  or  Mason,  a  Handel  or  Haydn,  pass  a- 
round  in  one  of  our  Choirs  and  open  to  each  person  somewhere  in 
one  of  our  books  of  Anthems,  or  in  the  Oratorios  of  Messiah  or 
Creation  ;  and  try  who  could  read  any  music  laid  before  him 
"  at  sight,"  as  he  reads  his  own  language  ;  and  such  a  movement 
would  probably  be  not  only  a  matter  of  curiosity,  but  of  lively 
and  spirit-stirring  solicitude,  to  many  a  one  who  calls  himself  a 
singer  :  and,  "  I  beg  to  be  excused,"  would  not  improbably  be 
the  plea  of  the  heaviest  proportion.  A  like  test  in  the  case  of  ma- 
ny a  gentleman,  of  his  powers  upon  the  flute  or  other  instrument, 
and  of  many  a  lady  upon  her  piano-forte,  would  probably  be 
shrunk  from  in  like  manner.  My  meaning  is  this,  that  with  all 
our  love  for  music,  and  our  taste  for  it ;  and  with  all  the  skill  ac- 
quired in  performing  certain  pieces  of  music  ;  still  not  many  a- 
mong  us  are  readers  of  music, — if  we  take  reading,  in  relation  to 
music,  to  mean  what  it  does  in  relation  to  language.  The  singer 
or  instrumental  performer,  who  can  execute,  at  sight,  any  music, 
is  likely  to  be  regarded  as  a  prodigy   in   skill  and  attainments  ; 


I 

^ud  as  though  there  were  some  necromancy  by  which  he  can  move 
on,  page  after  page,  through  a  seeming  chaos  of  crotchets,  qua- 
vers, semi-quavers,  demi-semi-quavers,  rests,  fugues,  chusing 
uotes,  rests,  and  flats  and  sharps  single  and  double,  and  out  of  all 
(read  or  play  a  delightful,  melting,  soul-thrilling  piece  of  music. 

If  it  be  thought  that  we  are  making  unreasonable  and  extrav- 
agant demands  of  qualifications  for  being  estimated  a  good  read- 
er or  executant  of  music,  we  shall  be  vindicated  from  the  charge, 
it  is  believed,  when  we  shall  have  examined  for  a  few  moments 
the  subject  of  Musical  Education  ;  a  subject  appropriate  to  this 
occasion,  and  worthy  the  attention  of  the  friends  of  sacred  music 
here  assembled. 

We  may  properly  call  music  a  species  of  language.  It  has 
most  of  the  attributes  of  language  ;  at  least  as  an  instrument  for 
producing  effect  on  the  finer  feelings  of  the  soul.  It  is  a  language, 
too,  which  almost  every  one  speaks,  in  some  form.  For  even  the 
person  who  has  never  ventured  to  sing  a  regular  Psalm  tune,  will 
be  sometimes  heard  singing,  in  his  own  way,  some  air  which  he 
has  heard  from  the  fife  or  the  military  band  ;  or  some  old  song 
he  has  heard.  Very  few  there  are  who  will  not  at  least  claim 
that  they  can  "  do  their  own  singing," — albeit  they  may  not 
please  the  taste  of  other  people.  The  boy  who  rolls  his  ball  or 
his  hoop,  in  the  street ;  the  mechanic  who  beats  his  anvil  or  his 
3ap-stone  ;  the  labourer  in  the  field  ;  the  hired  domestic,  at  her 
kitchen  labours,  or  over  the  loom  or  the  spinning  jenny  in  the 
factory  ;  are  as  often  heard  singing,  in  some  sort, — (and  it  may 
be  no  contemptible  sort  either) — as  the  gentleman  merchant,  law- 
yer, or  physician,  or  as  the  fashionable  and  elegant  lady  at  her 
piano-forte  in  the  drawing  room.  Every  body  makes  music,  in 
some  sort,  as  much  as  they  talk,  almost.  The  elements  or  sym- 
bols of  music,  moreover,  are  presented  to  the  eye  by  certain  signs 
tfchich  are  understood  and  read  all  over  the  civilized  world,  as  fa* 
miliarly  as  the  alphabet.  Moreover,  the  natural  medium  of  the 
communication  of  music  to  the  ear,  is  by  the  voice,  like  language, 
To  a  certain  extent  it  communicates  ideas  to  the  mind.  Its  pow- 
ers to  move  men's  feelings  are  proved,  by  facts,  to  be,  many  times, 
hardly  surpassed  by  words.  It  is  capable  of  cultivation,  like  el- 
oquence, to  sfich  an  extent,  that  like  eloquence*  it.  shall  ceove  asd 


-elevate  and  energize  all  the  powers  of  the  soul.  We  need  nof 
extend  our  comparison  farther. 

If,  then,  it  be  admitted  that  music  is  a  species  of  language  ;  has 
most  of  the  attributes  of  language  ;  and  is  adapted  to  produce 
effect  on  the  human  mind  and  feelings  like  language  ;  then  we  are 
prepared  for  the  position  tiiat  there  must  be  such  a  thing  as  edu- 
cation in  the  use  or  practice  of  this  language:  an  application  of 
the  mind  to  the  study  of  it,  and  of  the  voice  to  speaking  it ;  and 
these  pursued  to  the  acquirement  of  a  skill,  and  the  exhibition  of 
correctness,  facility  and  taste,  like  what  are  attained  in  proper 
and  eloquent  speaking  of  our  own  English.  And  this  education 
is  to  be  sought  by  much  the  same  means,  and  in  pursuing  much  the 
samej)rocessy  with  education  in  good  and  proper  reading  of  our 
own  mother  tongue.  A  good  English  reader  is  made  by  a  well 
conducted  course  of  practical  education  in  the  art,  on  the  basis  of 
a  knowledge  of  the  elements  of  our  language  and  of  grammar 
and  composition.  And  a  good  performer  of  music,  whether  with 
the  voice  or  an  instrument,  can  also  be  made  by  a  course  of  prac- 
tical education  in  this  art,  based  upon  knowledge  of  the  elements 
of  music,  and  of  musical  grammar  and  composition. 

How,  then,  does  a  teacher  of  the  art  of  reading  the  English 
language, — for  example, — set  himself  about  educating  a  reader? 
He  generally  prefers  to  take  a  child  on  which  to  make  his  exper- 
iment, rather  than  a  person  twenty  or  thirty  years  of  age,whonev- 
er  has  read  a  word;  for  a  good  reader  is  not  easily  made  of  one 
who  has  come  to  adult  years  in  ignorance  of  written  language. 
He  will  begin  with  this  child  as  soon  as  he  can  fix  his  attention 
and  use  his  mind  to  learn  any  thing.  He  will  commence  with 
carefully  teaching  him  the  names,  forms  and  sounds  of  the  letters 
of  the  alphabet.  Then  to  combine  letters  into  syllables  ;  sylla- 
bles into  words;  words  into  sentences  ;  sentences  into  paragraphs  : 
then,  to  consider  the  meaning  of  what  he  reads,  and  to  bring  out 
that  meaning  impressively,  in  the  use  of  accent,  emphasis,  inflec- 
tion, &ic.  he.  To  this  he  will  join  a  course  of  instruction  in 
grammar,  as  laying  the  foundation  for  a  proper  acquaintance  with 
composition.  Moreover,  as  he  begins  early,  so  he  expects  his 
undertaking  will  require  time,  patience,  careful  practice  iu  tbe 
use  of  various  kinds  of  composition,  didactic,  dramatic  or  <flt*- 


logic,  poetic,  &c. ;  and  this  accompanied  with  judicious  and  thor- ' 
ough  criticism,  for  the  correction  of  a  thousand  mistakes  and 
faults  in  the  learner.  With  these  he  will  join  the  cultivation  of 
the  voice,  in  the  use  of  various  experiments  for  giving  it  depth, 
strength  and  compass.  These  are  things  professedly  attempted 
by  all  good  school-teachers.  A  good  reader,  in  truth,  any  one 
knows,  is  not  born  so.  He  must  be  made  so  by  a  thorough  pro- 
cess of  education  in  the  art  of  reading.  Nor  is  this  education 
accomplished  in  a  day  ;  nor  by  instructing  the  pupil  one  or  two 
evenings  in  a  week  for  three  or  six  months  out  of  five  years ;  and 
these  evenings  spent  in  his  commitment  to  memory,  or  in  drilling 
him  to  read  mechanically,  a  selection  of  extracts,  while  he  acquires 
no  habits  of  reading  which  he  can  carry  to  the  perusal  of  any 
thing  else  ;  but  he  must  be  educated  by  years  of  daily  practice, 
and  in  reading  any  where,  and  in  hundreds  of  books  added  to 
those  used  in  the  school.  All  this  process  of  education  in  the  art 
of  reading  his  own  language,  goes  on  without  any  interference 
with  the  pupils  progress  in  other  branches  of  school  education, 
pursued  at  the  same  time. 

Now,  from  the  School-Master,  aiming  to  make  a  good  English 
reader,  we  get  some  hints  for  the  improvement  of  our  system  of 
musical  education  ; — or  rather  for  the  creation  of  such  a  system. 

In  the  first  place,  then,  to  make  a  good  performer  of  music, 
begin  early  in  life.  A  young  gentleman  or  lady,  of  eighteen^  or 
twenty  years,  who  cannot  teil  one  note  from  another,  nor  ever  half 
sung  any  thing,  except  an  old  love-song,  or  a  reel  learned  in  the 
ball  room,  is  a  discouraging  subject  out  of  which  to  undertake 
the  making  of  a  singer.  I  do  not  say  it  can  not  be  done  ;  but  it 
is  neither  easily  nor  often  done.  "  Just  as  the  twig  is  bent  the 
tree  inclines,"  says  a  poet.  But  here  you  have  a  thrifty  tree 
which  has  attained  its  growth  ;  and  you  may  try  to  bend,  and 
prune  and  train  it  ;  and  after  all,  your  object  will  be  very  imper- 
fectly accomplished,  because  the  favourable  time  is  long  since 
gone  by.  ', 

Into  the  same  place,  then,  where,  and  at  the  same  tims  when 
there  is  undertaken  the  education  of  readers  of  language,  we  would 
recommend  the  introduction  of  education  in  the  art  of  music.  £t 
ii  $  branch  of  Education  which,— it  shouH  be  known  and  felt,  by 


all  intelligent  christians, — is  of  high  importance  to  the  interests 
of  religion  and  religious  worship.  So  important  is  it,  that  no 
christian  parent,  especially  no  minister  of  the  Gospel,  ought  to  be 
indifferent  to  it.  A  christian  parent,  of  the  Episcopal  Church, 
would  feel  himself  to  be  greatly  guilty  in  neglecting  to  teach  his 
children  to  read,  as  preparing  them  to  join  in  reading  the  church 
service  There  should  be  a  like  conscientiousness  in  every  chris- 
tian parent  in  regard  to  the  education  of  his  children  in  the  art 
of  sacred  music,  as  an  aid  of  their  preparation  for  that  part  of 
divine  worship.  Let  every  child  be  early  examined  as  to  his 
possession  of  an  ear  and  voice  for  music,  and  put  under  a  course 
of  instruction.  It  will  be  found  that  there  are  comparatively  few 
children  who  cannot  be  taught  to  sing. 

2.  Begin   at  the   beginning, — the  A.  B.  C.  of  the  process  of 
musical  education.     In  almost  every  thing  else  except  music,  com- 
mon-sense has  generally  taught   this  simple  rule.     Whether  the 
neglect  of  this   rule   in   regard   to  teaching  music  is  the  fault  of 
teachers  or  learners,  admits  of  question  ; — perhaps  it  is  with  both. 
Begin  with  simple  sounds.     Make  sure  of  the  right  formation  of 
a  single  note  :  which,   in  its  production,   shall  not  be  a  noise  of 
the  voice,  merely,  made  in  the  rush  of  the  breath,  one  half  through 
the  nose  and  the  other   through  the  teeth  ;  but  a  formed  sound, 
which  shall  have  the  element  of  music  in  it.     For  a  child  can  as 
easily  be  made  to  form  a  musical  sound,   as   to  form  the  proper 
sound  of  a  letter  in  the  alphabet.     Take  the  pupil  from  one  sound 
to  another  ;  and  after  such  a  course  of  instruction  in  distinguish- 
ing and  comparing  one  with  another,  as  is  necessary,   then  -take 
him  back  and  forth  through  one  or  more  octaves,   according  to 
the  compass  of  his  vcice,  and  teach  him  the  proper  formation  of 
intervals.     In  short,  teach  him  "  the  eight  notes,"  as  they   are 
called,  as  you  would  teach  him  the  alphabet.     And  no  more  over- 
pass the  sounding   of  four  out  of  eight  notes   wrong,   than  you 
would  his  calling  thirteen  out  of  twenty-six  letters  by  wrong  names. 
Accuracy  should  be  made  an  indispensable  matter,   in  the  outset 
of  musical  instruction.     Thus  also  teach  all  the  musical  charac- 
ters.    I  am  thus  particular  on  this   point,  because,   if  I  mistake 
not,  deficiency  here  is  at  the  foundation  e(  much  professed  in- 
duction in  mnric. 


in 

3.  The  process  of  the  voice  in  correctly  sounding  the  notes  of 
an  octave,  in  succession,  is  the  beginning  of  the  third  thing,  com- 
bination ;  and  prepares  the  way  for  the  succeeding  steps  in  com- 
bining notes  of  different  intervals,  and  the  execution  of  musical 
phrases,  of  any  number  of  notes;  aud  thence  to  the  performance 
of  passages,  of  such  simple  composition  as  o  lead  the  pupil 
gradually  forward  in  learning  to  read  music.  It  used  to  be  the 
fashion,  so  soon  as  the  pupil  had  learned  to  sound  the  eight  notes 
and  "  got  the  gamut,"  (as  the  quaint  expression  was) — to  put 
him  directly  to  singing  tunes.  Now  no  school  teacher,  not  a 
simpleton,  ever  thinks  of  taking  a  child,  from  having  learned  his 
alphabet,  directly  into  Murray's  English  Reader,  for  example  ; 
nor  sets  him  to  reading  sentences  and  paragraphs,  before  he  has 
learned  to  put  together  and  pronounce  the  letters  a-b,  or  b-a-g, 
or  b-a-k-e-r.  Let  the  progress  of  the  pupil  in  music  be  made 
step  by  step ;  as  much  so  as  the  pupil  in  reading  the  English  lan- 
guage ;  combining  notes  into  bars,  phrases,  strains,  &x. 

Our  collections  of  music,  in  years  past,  have  commonly  con- 
tained from  two  to  ten  or  twelve  pages  of  what  have  been  called 
ground  rules  of  music  ;  necessary, — we  are  gravely  told, — to  be 
understood,  before  the  learner  can  undertake  to  sing.  This,  now, 
is  like  publishing  a  collection  of  pieces  of  prose,  or  poetry,  or 
both  ;  and  at  the  beginning  of  the  book  giving  some  ten  or 
twelve  pages  of  ground  rules  of  reading  :  to  wit,  the  alphabet, 
a  table  of  sounds,  the  vowels,  and  diphthongs,  a  table  of  stops 
and  marks,  a  few  lessons  in  spelling,  and  some  few  directions  on 
reading  ;  all  very  wisely  and  respectfully  recommended  to  the 
reader  as  being  quite  necessary  to  be  understood  before  reading 
the  book.  A  wonderful  compliment,  truly,  the  makers  of  collec- 
tions of  music  have  been  in  the  habit  of  paying  to  the  might  and 
majesty  of  the  human  mind  ;  as  though  it  could,  in  a  few  hours, 
perhaps  minutes,  take  in  a  few  general  principles  of  an  art  or  sci- 
ence ;  and  then  stride,  leap,  or  fly,  at  once,  over  a  thousand  in- 
termediate steps,  into  the  perfection  of  skill  in  the  application  of 
them.  We  would,  with  all  due  respect,  submit  the  question, 
whether  at  this  distance  of  time  from  the  days  of  Jubal,  it  may 
not  possibly  be  safe  to  put  ground  rules  of  music,  for  learners, 
into  books  by  themselves  ;  amplified  and  particularized  and  illus* 


.•!:.ileJ,  as  may  be  necessary,  for  learners  ;  and  that  Lciitors  of 
our  Collections  of  Music  should  take  it  for  granted  that  their 
readers  are  far  enough  advanced  in  principles,  to  use  them  with- 
out a  preface  of  such  a  kind  ?  Then,  the  difference  between  a 
mere  learner,  and  an  actual  reader  of  music,  might  perhaps  be 
better  understood  and  acted  upon.  With  my  own  very  limited 
capabilities  for  reading  music,  and  my  hopes  that  the  present  gen- 
eration of  learners  will  be  better  educated  than  the  last,  I  would 
confess  myself  thankful  to  some  recent  professional  teachers  in 
our  country,  who  have  furnished  us  some  first  books  of  music,  de- 
signed to  precede  the  use  of  Collections  ;  and  to  help  the  learn- 
er to  walk,  safely,  one  step  at  a  time,  into  the  art  of  reading  mu- 
sic, without  any  temptation  to  the  hazardous  experiment  to  which 
we  have  alluded.  The  principle  of  combination,  in  learning  to 
perform  music,  must  be  made  a  practicable  affair,  in  order  to  the 
education  of  good  singers. 

Before  leaving  this  point,  a  word  on  the  object  of  it.  It  is  not 
simply  to  have  the  learner  commit  to  memory,  or  drill  himself  in- 
to the  ability  to  perform  a  few  tunes  ;  as  has  been  the  practice  in 
•*  days  departed, — never  to  return,"  we  hope.  It  is  nonsense  to 
talk  of  one's  having  learned  to  sing,  who  has  done  only  this. 
Has  a  school  boy  learned  to  read,  who  has  committed  to  memo- 
ry, so  that  he  can  repeat,  without  book,  a  few  pieces  of  prose  or 
poetry,  or  a  few  hymns  ;  or  who  has  learned  mechanically  to  read 
them,  while  he  can  read  nothing  else,  at  sight?  To  recur  again, 
for  illustration,  to  the  art  of  reading  language.  The  object  of 
the  teacher  is  not  simply  to  have  the  pupil  learn  to  read  mechan- 
ically ;  or  perform,  from  the  familiarity  acquired  by  many  times 
reading,  parts  of  the  spelling  or  reading  book,  with  no  expecta- 
tion that  he  will  ever  read  any  thing  else,  except  by  the  same 
process  of  preparation.  The  object  is  to  have  him  acquire  that 
acquaintance  with  the  elements  of  language  and  their  use,  which 
shall  prepare  him  to  read  millions  of  times  more  compositions 
than  he  could  ever  commit  to  memory  or  make  familiar  to  his 
mind  by  many  times  reading  ; — and  so  that  he  shall  have  such  a 
facility,  and  that  facility  become  a  fixed  habit,  in  reading,  that  he 
shall  read  correctly,  at  sight,  any  composition  he  may  never  have 
spen  before.     The  exercise  of  conning  over  a  page  of  a  book,  her 


fore  daring  to  attempt  to  read  it  aloud,  for  fear  of  not  being  able 
to  go  through  with  it  ;  and  to  be  obliged  to  spell  this  and  that 
hard  word  ;  and  to  observe,  beforehand,  the  position  of  this  com- 
ma, and  that  colon,  and  this  period,  are  things  which  any  New- 
England  gentleman  or  lady,  calling  themselves  readers,  would  be 
ashamed  to  be  caught  doing.  "  I  never  saw  that  tune  before,55 
said  a  "  singing  master,"  of  twenty  years  since,  when  excusing 
himself  from  the  attempt  to  sing  a  part  with  others,  in  a  common 
tune  in  one  of  our  collections.  What  kind  of  a  teacher  of  a 
New-England  common-school  would  he  be  esteemed,  who  should 
offer  a  like  apology  for  not  being  able  to  read  a  paragraph  in  a 
school  book  with  which  he  was  not  familiar  ?  The  object  of  mu- 
sical education  is  to  learn  to  read  music, — any  music, —  by  the 
kind  of  facility  in  combination,  and  that  acquaintance  with  mu- 
sical composition,  which,  in  reference  to  language,  makes  a  good 
reader  ;  and  thus  to  get  command  of  all  the  music  ever  written, 
as  much  as  of  all  the  books  ever  written  in  our  own  language. 
A  singer  thus  educated  can  be  as  much  at  home  on  the  pages  of 
Handel's  Messiah  or  Haydn's  Creation,  as  in  singing  any  tune  in 
our  most  common  collections.  Such  facility  will  secure  the  stor- 
ing of  the  memory  with  tunes  for  common  performance,  in  publick 
religious  services.  For  the  memory  retains  nothing  with  more 
ease  than  it  does  music,  when  there  is  taste  for  it.  And  were  this 
not  the  fact,  there  would  be  a  substitute  for  it,  in  that  facility  at 
reading  music,  which  would  ensure  the  correctness  of  a  singer's 
performance  with  his  music  book  before  him,  as  much  as  of  his 
reading  of  a  psalm  or  hymn,  with  his  book  open.  I  have  known 
a  choir  of  singers, — and  would  hope  it  is  not  the  only  one, — who 
would  perform,  in  the  services  of  the  Sabbath,  any  tune  which 
should  be  set  to  psalm  or  hymn  by  their  leader  ;  without  stopping 
to  inquire  whether  they  had  practised  upon  it  before.  They  could 
read  it  at  sight,  and  that  was  all  which  was  necessary.  It  is 
earnestly  to  be  hoped  that  the  time  is  coming  when  such  will  be 
the  ability  of  all  who  call  themselves  singers, 

4.  The  study  of  musical  composition  is  another  requisite  in 
good  musical  education.  We  see  not  why  the  knowledge  of  mu- 
sical grammar  and  composition  are  not  as  attainable  and  neces- 
sary to  the  singer  as  those  of  language  to  a  reader.     We  need 


14 

!iot  enlarge  on  this  point,  for  the  illustration,  beyond  what  has  al- 
ready been  done,  of  the  importance  of  this  as  concerned  in  laying 
a  foundation  for  good  musical  reading  or  execution. 

5.  Patient  and  long-continued  training  of  the  pupil  is  another 
requisite  in  musical  education.  Has  any  acquirement  of  skill,  in 
any  art.  ever  been  made,  without  this  ?  Common-sense  general- 
ly teaches  its  indispensableness  ;  and  if  this  fail,  in  one  instance, 
to  teach  it,  disappointment  certainly  will  make  a  man  sensible  of 
it.  Progress  in  any  art  is  usually  slow,  is  acquired  by  degrees, — 
by  not  more  than  one  degree  per  day  ;  if  indeed  so  much.  But 
the  progress  which  may  be  slow,  if  it  proceed  upon  the  settled 
principles  which  lie  at  the  foundation  of  excellence,  is  generally 
sure,  also.  In  first  learning  to  perform  music  well,  many  faults 
and  inaccuracies,  of  course,  are  to  be  pointed  out,  and  their  cor- 
rection insisted  on  with  the  same  particularity  as  in  any  other  art. 
It  is  the  omission  of  this,  and  letting  choirs  try  to  sing  before  they 
are  ready  to  do  it,  which  makes  musical  performances,  in  so  ma- 
ny places  of  worship,  little  else  than  a  concatenation  of  blunders. 
A  criticalness  in  performance,  and  a  niceness  of  ear,  as  to  time 
or  harmony,  which  would  make  the  blood  of  singers  chill  in  their 
veins,  and  their  flesh  to  quiver,  at  a  discord,  or  a  jarring  of  time, 
would  be  blessings  in  our  choirs  ;  and  would  often  be  a  very  great 
mercy  to  their  fellow-worshippers,  who  have  ears,  and  nerves 
which  will  not  bear  rasping.  A  standard  of  accuracy  and  habits 
of  correctness  should  be  formed  and  established  in  the  perform- 
ance of  music,  so  that  it  shall  be  natural,  and  a  matter  of  course, 
to  sing  right, — a  thing  not  of  every-day  occurrence.  While  on 
this  point,  I  would  observe,  that  it  is  gratifying  to  perceive,  in 
the  practice  of  this  Association,  in  their  rehearsals,  that  they  make 
systematic  and  thorough  criticism  one  of  their  first  objects. 

6,  Practice,  in  the  reading  of  music  of  different  kinds  and  styles, 
is  another  requisite  in  good  musical  education.  And  this,  on  the 
same  principle  that  a  judicious  teacher  of  the  art  of  reading  puts 
into  the  hands  of  his  pupils  compositions  of  different  classes  and 
authors.  In  the  compositions  of  Luther,  Handel,  Haydn,  Mo- 
zart, Beethoven,  and  many  other  writers  of  past  and  present  time, 
we  might  point  out  specimens,  various,  peculiar  to  the  genius  of 
ealh  ;  and  exhibiting  all  the  variety  of  musical  talent  and  excM- 


id 

Jence  which  we  are  accustomed  to  admire  in  the  poetry  of  Milton, 
Cowper,  Young,  and  others  ;  or  in  the  prose  of  Addison,  Burke, 
Johnson,  and  other  writers  What  good  singer  has  never  notic- 
ed and  felt  the  rich  harmony  and  solemn  majesty  of  Luther's  Old 
Hundred  ;  or  the  sweet,  Scottish,  "wild  warbling"  of  Dundee? 
In  higher  compositions,  who  has  not  felt  his  soul  melt  under  the 
plaintiveness  of  Handel's  Dirge  in  the  Oratorio  of  Saul  ;  or  the 
pathetic  and  touching  appeal  in  his  recitative  in  the  Messiah, 
"  Behold,  and  see  if  there  be  any  sorrow  like  unto  my  sorrow." 
His  Hallelujah  Chorus  might  well  lift  a  king  and  his  court  from 
their  seats.  His  chorus,  "  Worthy  is  the  Lamb  that  was  slain," 
&c.  cannot  well  be  sung  or  heard,  by  a  true-souled  singer,  except 
standing.  His  Dittengen  Te  Deum,  it  would  seem  to  a  mortal 
man,  might  be  almost  elevated  enough  to  be  sung  from  the  or- 
chestra of  heaven.  So  of  many  passages  of  Haydn's  Oratorio 
of  the  Creation,  we  might  speak  ;  in  which  we  hardly  know 
whether  most  to  admire  the  bewitching  delicacy  and  sweetness  of 
his  conversations  between  Adam  and  Eve  in  Eden  ;  or  the  beauty 
and  majesty  of  his  dialogues  of  the  angels  ;  or  his  choruses  of 
all  creation,  which  seem  made  for  all  creation  to  sing  together. 
7.  One  more  requisite  in  good  musical  education  we  notice, 
extensive  reading,  as  a  matter  of  taste,  and  of  intellectual  and  re- 
ligious enjoyment.  I\o  one  calling  himself  a  singer  ought  to  have 
the  confession  to  make,  that  he  has  not  read  all  the  music  of  the 
collections  in  common  and  approved  use  in  his  choir.  And  on 
the  same  principle  that  you  would  furnish  your  library  with  stand- 
ard authors  in  the  English  language,  possess  yourself  also  of  choice 
musical  authors.  Purchase  and  read,  especially,  such  of  the  works 
of  Handel  and  Haydn,  and  the  selections  from  others,  which  have 
been  published  in  this  country.  Add  a  new  collection  of  music 
to  your  stock  of  books,  as  you  would  a  valuable  volume  of  ser- 
mons or  essays.  Have  in  your  bouse  some  musical  instrument, 
and  use  it,  daily.  There  are  many  minutes,  and  sometimes  hours, 
in  the  lives  of  the  busiest,  when,  with  a  taste  for  music,  time  can 
be  found  for  its  cultivation  and  practice,  vocal  and  instrumental. 
Commend  to  us  the  singer,  who  as  a  skilful  performer,  but  better 
still  as  a  christian,  can  sit  down  to  the  study  of  such  a  work  as 
Handed  Messiah,  in  the  retirement  of.  home;  aud read,  with  o 


id 

tention  and  enjoyment,  its  various  parts,  as  a  kind  of  commenta- 
ry on  that  interesting  collection  of  scriptures  ;  and  feast  his  soul, 
taste,  intellect,  on  the  matter  of  his  pages. 

In  a  well  conducted  course  of  musical  reading  will  be  acquired 
additional  skill  in  performance,  in  many  points.  As  a  means  for 
cultivating  musical  expression,  especially,  no  one  is  of  more  im- 
portance than  this.  Here  also  let  us  recommend  the  reading  of 
musical  history  and  biography.  It  is  much  to  be  wished  that  the 
American  press  might  be  patronized  by  the  friends  of  music,  in 
the  re-publication  of  some  of  the  most  approved  European  works 
of  this  class.  To  know  what  music  should  be  and  may  be,  in 
this  country,  we  need  to  know  what  it  has  been  in  other  countries; 
not  only  as  to  be  learned  in  the  writings  of  eminent  composers. 
but  in  their  professional  characters,  and  in  those  of  eminent  per- 
formers. A  Society  like  this  will  doubtless  find  a  Musical  Libra- 
ry an  important  means  for  the  advancement  of  their  acquaintance 
with  the  art  of  music  and  its  eminent  men,  and  an  aid  in  raising 
the  standard  of  musical  taste. 

If,  now,  we  be  asked,  Is  such  a  system  of  musical  education 
practicable  ?  ue  point  to  what  has  been  done  in  individual  cases  ; 
and  to  the  old  proverb,  worthy  to  be  repeated  in  other  places  be- 
sides the  school  room,  "  what  man  has  done,  man  can  do."  The 
practicableness  of  attaining  such  skill  in  reading  music  as  we  have 
urged,  is  illustrated  in  the  case  of  c\ery  decent  reader  of  his 
mother  tongue. 

As  skill  in  combination  is  a  leading  requisite,  and  as  more  doubt 
may  be  felt  on  that  point  than  some  others,  let  us  illustrate  this  by 
reference  to  certain  things  which  are  done,  from  which  we  may 
legitimately  infer  the  entire  practicableness  of  this.  You  can  sing 
the  tune  of  Old  Hundred,  doubtless,  in  a  long  metre  psalm  ;  and 
herein  is  the  combination  of  two  things,  commonly  done  ;  and  with 
entire  facility.  Practice  will  enable  you  to  join  with  these  seve- 
ral other  things.  While  you  sing  the  air  or  bass  of  this  piece,  in 
words,  you  can  carry  in  your  mind  another  part,  still;  and  prob- 
ably you  often  do  it ;  for  if  another  person  is  singing  that  part, 
you  observe  whether  lie  harmonizes  with  yours,  and  perceive  any 
mistake  which  he  makes ; — a  third  thing.  Again,  you  are  perhaps 
a  player  upon  a.  viol ;  and, — irbicb  is  not  uncommon, — you  play 


the  bass,  sing  in  words  the  air,  and  carry,  (as  before  supposed,) 
a  third  part  in  your  mind  or  watch  its  performance  with  your 
ear:  four  things  combined,  which  you  do  not  call  difficult.  To 
change  our  illustration  to  another  instrument  ;  here  is  a  young 
lady  at  her  piano-forte,  who  sings  this  Old  Hundred  in  words, 
plays  the  air  with  her  right  hand,  the  bass  with  her  left,  carries 
in  her  mind  a  third  part,  and  in  proof  of  this  throws  in  notes 
here  and  there  as  chords  :  five  things.  And  nothing  wonderful, 
this  ;  for  it  is  done,  after  a  fashion,  by  every  young  lady  who 
sings,  and  professes  to  play  on  that  instrument.  Now  a  step 
farther  :  here  is  an  organist  who  does  all  these  things  and  adds 
a  sixth  thing,  throws  in  bass  chords,  an  octave  below.  We  sup- 
pose this  to  be  no  uncommon  thing.* 

The  complicated  combination  of  parts  which  can  be  accom^ 
plished  is  exemplified  in  these  remarks ;  if  the  speaker  has  made 
no  mistake  in  his  observation  of  performers  and  his  estimate  of 
the  things  which  are  embraced  in   their  executions.     If,  now, 
these  things  can  be  accomplished,  then  surely  it  is  entirely  prac- 
ticable for  you  to  accomplish   the  combinations  necessary  to  read 
your. "single  part,  at  sights  in  common  performances  ;  and  in  any 
music  whatever.     And  no  gentleman  or  lady  ought  to  make  pro- 
fessions of  being  a  very  great  singer,   who  cannot  read  well,  at 
sight,  one  part,  in  any  musical  composition.     It  ought  not  to  be 
any  longer  regarded  as  such  an  impracticable  and  wonderful  at- 
tainment.    Why  do  we  not  wonder  to  see  any  one  read,  at  sight, 
a  letter  from  his  friend,  which  he  has  just  opened  ;  or  a  para- 
graph of  news  in   his  paper  just  taken  from  the  post-office  ? 
There  is  nothing  in  the  science  of  music,  nor  in  the  art  of  per- 
forming it,  to   prevent  such  singers  from  becoming  as  common 
every-day  beings  as  decent  readers  of  our  own  language.     This 
would  be  a  natural  result  of  a  system  of  musical  education,  con- 
ducted as  much  on  the  principles  of  common  sense,  as  education 
in  other  branches  in  our  common  schools. 


*  Handel,  on  an  occasion  when  he  felt  the  need  of  more  hands,  to  accom- 
plish all  the  combinations  he  wanted,  bowed  his  face  down  to  the  keys  of  thg 
ergau,  and  employed  his  eoss  to  do  the  (Sutfci  of  a  third  htafl. 


48 

I  point  to  the  fact,  also,  that  in  some  countries  in  Europe,  the 
experiment  of  musical  education  by  system  has  been  extensively 
shewn  successful.  Of  Germany,  particularly,  remarks  a  late 
writer  :  "  It  is  perhaps  more  truly  the  country  of  music  than  a- 
i:  ny  other  in  Europe.  It  makes  a  part  of  the  business  of  al- 
16  most  every  common  school,  of  every  town  and  village  and 
"  cottage  ;  so  that  genius  has  opportunity  for  early  instruction, 
ei  and  the  patronage  and  even  example  of  the  princes  of  the 
Cl  empire  give  every  encouragement  to  the  exertions  of  professed 
t!  musicians," 

In  looking  for  the  means  by  which  such  a  system  of  musical 
education  may  be  introduced,  we  may  take  encouragement  from 
the  fact,   that  already  experiments  are  making  in  some  primary 
schools  in   our  country.     It  is  to  be  hoped  the  experiments  will 
be  rendered  complete,  by  conducting  instruction   in  this  art  in 
the  same  manner  in  which  other  things  are  taught.     It  can  also, 
doubtless,  be  introduced  into  our  American  schools,  as  easily  as 
into  those  of  other  countries  ;  and   it  is  to  be  hoped   that  our 
children  have  as  much  music  in  their  souls,   and   as   flexible  or- 
gans for  singing,  as  Germans  or  any  others.      Parental  instruc- 
tion may  do  something  in  aid  of  this  object.     Moreover,  let  the 
demand  be  made  for  qualifications  to  instruct  in  music,   in  those? 
who  shall  teach  our  primary  schools,   and  it  will   operate,  even- 
tually, to  produce  a  supply.     The  attractions   of  the  art  itself, 
also,  as  it  advances  into  notice,  will  probably  aid  its  progress. 

We  should  briefly  notice  some  of  the    obvious  advantages  of 
such  a  system  of  musical  education. 

Its  influence  on  the  state  of  our  choirs,  as  to  their  number?, 
would  be  important.  Many  more  voices  would  be  brought  un- 
der cultivation,  than  at  present.  Instead  of  a  handful  of  sing- 
ers, almost  lost  in  the  orchestra  of  a  large  congregation,  fifties 
and  hundreds  might  be  employed  in  this  delightful  part  of  divine 
worship.  Such  a  system  would,  in  time,  indeed,  make  singers 
of  the  largest  proportion  of  our  congregations  ;  and  the  advan- 
tage of  this,  to  the  interest  and  impressiveness  of  this  part  of 
publick  worship,  would  be  of  great  worth. 

It  would  give  better  permanence  to  the  sacred  music  of  our 
-   ^regatici:?,  from  tho  fret;  that  such  a  ?ystefD  of  educ. 


1* 

la  reading  music  is  not  liable  to  the  catastrophe  which  so  ofi 
befals  memoritei  or  mechanical  singing.     Once   a   good  reader, 
and  in  the  common  practice  of  it,  always  a  good  reader.     And 
with  equal  truth  we  may  say,  once  a  good  singer,  always  a  good 
singer. 

Such  a  system  will  be  best  economy,  both  of  time  and 
money. 

The  influence  of  such  a  course  of  musical  education  on  the* 
habits  of  our  choirs,  in  publick  performances,  would  be  of  high 
value.  Give  a  choir  the  facility  at  performance  which  would  be 
thus  imparted,  and  we  should  have  performances  marked  with 
that  simplicity,  and  expressiveness,  which  come  of  their  being" 
conducted  in  habits  based  on  principles. 

Another  important  advantage  of  such  a  system  of  musical  ed- 
ncation  will  be,   that  singers  will  be  far  more  at  ease  in  their 
publick  performances.     They  are  not  liable  to  fail,  in  time  or 
harmony.     On  the  plan  of  learning  tunes  heretofore   practiced, 
a  choir  will  not  dare  attempt  the  performance  of  a  tune,  in  pub- 
lick, which  they  have  not  first  nearly  worn  out,  by  the  kind  of 
school  practice  of  which   we   have  spoken.     It   is  doubtless  fa- 
miliar to  many  a  singer  in  this  Association,  how  great  an  under- 
taking it  is  for  a  common  choir  to  perform  an   anthem,  in  pub- 
lick.    After  having  practiced  upon  it,  many  an  evening,  in  sing- 
ing school,  they  undertake  its  performance  at  the  ordination,  or 
thanksgiving,  or  some   other  occasion  for  which  it  has  been  se- 
lected ;  each  performer,  in  all  probability,  trembling,  and  afraid 
lest  some  unlucky  mistake  in  time  or  tune  should  throw  them  in- 
to confusion.     The  feelings  of  a  religious  assembly  will  common- 
ly be  in  very  wakeful  sympathy  with  those  of  the  trembling  and 
anxious  choir  ;  and  all   are  probably    more   occupied   with  the 
object  of  executing  the   piece   without   mistake, — with    getting 
through  it  alive, — than  with  the  devotional  feelings  appropriate 
to  the  occasion.     I   have   seen   choirs  thus  appear  most  distress- 
edly  ridiculous.     A  want  of  thorough    education   in   the   art  of 
reading   music,  as  preventing  composed   facility  in  performan- 
ces, is  a  very  great  hindrance  to  the  devotional  feelings  of  an 
assembly. 

But  by  proper  musical  education  let  it  be  made  easy,   and  a 


patter  of  course,  k>r  a  choir  to  sing  correctly  ;  and  tiiey  ar& 
far  better  able  to  make  the  exercise  truly  a  religious  one.  They 
are  at  all  the  liberty  necessary  to  enter  into  the  spirit  of  the 
Psalm,  Hymn,  or  passages  of  Scripture  to  be  sung  And  if 
there  be  any  feelings  of  common  reverence,  as  engaged  in  a 
solemn  act  of  worship  to  God  ;  and  if  there  be  in  their  hearts 
true  devotion  ;  they  cannot  well  help  singing  expressively. 

Another  advantage  of  such  a  system  of  musical  education, 
will  be,  its  aid  to  the  impressions  of  the  ministry  of  the  Gospel. 
Let  any  one,  of  good  musical  taste,  united  with  correct  chris- 
tian judgment,  search  for  the  actual  benefits  of  much  that  is 
called  sacred  music,  to  this  end  ;  and  let  him  point  out  to  us  a- 
ny  benefits  which  would  not  have  been  as  well  secured, —  and 
perhaps  better, — by  a  psalm  or  hymn  being  well  read,  and  then 
followed  by  five  minutes  of  silence  in  the  congregation,  to  be  oc- 
cupied in  meditation  on  what  has  been  read.  Yes,  and  better 
too,  than  to  have  the  violence  done  to  the  auditory  nerves  of  an 
assembly,  which  is  frequent.  An  interval  of  perfect  silence  would 
be  far  preferable  to  much  of  the  singing  which  is  applied  to  sa- 
cred poetry.  The  effects  of  bad  music  on  a  preacher  are  un- 
happy, both  for  himself  and  his  congregation.  *lt  is  related  of 
the  venerable  Dr.  Bellamy,  of  Connecticut,  that  on  one  Sab- 
bath, after  the  choir  had  sung  a  psalm  very  badly,  he  arose  and 
read  them  another,  saying,  "  You  must  try  again,  for  it  is  im- 
possible to  preach,  after  such  singing."  There  is  not  a  little  of 
what  is  called  sacred  music,  which  ought  to  be  named  sanctimo- 
nious discordancy  ;  and  is  much  better  adapted  to  make  a  hear- 
er angry,  than  to  promote  his  devotional  feelings. 

On  the  other  hand,  make  this  part  of  divine  service  what  it 
ought  to  be,  to  answer  its  design  ;  let  it  be  the  raising  of  a  sa- 
cred song,  which',  from  its  proper  performance,  shall  have  a- 
waked  right  feeling,  and  promoted  devotion  ;  and  preaching  is 
a  different  exercise,  both  with  minister  and  congregation.  In- 
stead of  having  to  recover  from  the  discomposure  of  feelings 
produced  by  a  disagreeable  and  irritating  strain  of  discords, — 
costing  the  time  of  half  a  sermon  to  recover  from, — they  can 
enter  upon  this  part  of  divine  service  under  positive  and  impor- 
tant advantage.     Such   music  is  sometimes  to  be  heard, — when. 


:  it  be  always  ? — which  carries  forth  the  heart  in  the  spirit  of 
true  prayer;  and  is  adapted  to  he,  to  the  heart  and  the  lips  of  a 
preacher,  like  "  a  live  coal  from  off  the  altar." 

The  remarks  which  have  been  made  respecting  the  education 
of  vocalists,  apply  also  to  instrumental  performers. 

And  here  we  would  speak  of  another  requisite  to  good  sacred 
music,  a  ivell  conducted  instrumental  accompaniment.  The 
Providence  of  God,  who  has  given  man  faculties  for  the  art  of 
music,  has  also  led  man's  ingeuuity  to  the  invention  of  instru- 
ments, by  which  the  powers  of  the  voice  may  be  aided,  and  the 
impressiveness  of  this  part  of  divine  service  augmented.  While 
this  is  true  of  various  kinds  of  instruments,  there  is  one  which 
seems  to  have  been  designed  by  the  God  of  the  sanctuary,  more 
especially  than  any  other,  for  the  publick  services  of  religion  ; 
I  mean  the  organ.  The  Providence  of  God  in  causing  an  in- 
strument to  be  invented,  so  perfectly  adapted  to  sacred  music,  is 
as  noticeable  as  in  leading  Watts  and  other  christian  poets  to 
the  version  of  the  Psalms  and  other  portions  of  Scripture  which 
we  use.  The  powers  of  that  noble  instrument  are  beyond  those 
of  any  other  one  yet  invented.  Under  the  hands  of  one  who 
understands  and  can  bring  out  its  fine  powers,  its  effect  for  giv- 
ing dignity,  solemnity,  and  1  will  say  sublimity,  too,  to  the 
songs  of  the  sanctuary,  is  altogether  peculiar.  Nothing  cau 
surpass  the  full,  sweet,  harmonious  and  solemn  tones  of  a  good 
organ  to  give  depth,  strength  and  effect  to  the  music  of  a 
choir  ;  and  to  assist  the  worshipper  to  feel  that  he  is  in  "  the 
house  of  God" — "  the  gate  of  heaven,"  and  to  send  up,  with 
fervency,  the  pious  aspirations  of  his  heart  to  the  throne  of 
"  the  High  and  Lofty  One  who  inhabiteth  eternity."  This  no- 
ble instrument  is  to  be  regarded  as  a  gift,  of  peculiar  value, 
from  Him  who  designed  every  thing  about  his  Zion  and  her  or- 
dinances to  be  desirable  and  beautiful  ;  to  impress  sentiments  of 
veneration  and  love  upon  those  who  "  walk  about  her,"  and 
mark  her  spiritual  excellence,  and  the  means  of  its  promotion » 
Not  that  we  advocate,  in  religious  services,  that  which  shall 
stnke  the  senses  and  regale  the  taste,  irrespective  of  the  great 
objects  of  christian  worship  ;  but  we  are  to  remember,  that  in 
this  imperfect  and  sinful  state,  the  heart  is  to  be  reached  and  in>* 


flucnced  through  the  instrumentality  of  such  means,  associated 
with  more  strictly  spiritual  ones.  What  is  true  of  the  art  of  el- 
oquence, as  necessary  to  enforce  divine  trulh,  is  equally  true  of 
the  art  of  music,  as  to  aid  the  devotions  associated  with  the  min- 
istry of  the  word. 

One  more  requisite, — this  part  of  divine  service  should  be 
regarded  more  distinctly  than  it  has  been,  as  being,  itself,  wor- 
ship of  God. 

There  is  far  more  instruction  in  the  scriptures,  to  the  duty  and 
manner  of  singing  the  praises  of  God,  and  to  the  use  of  instru- 
ments in  aid  of  this  exercise,  than  seems  to  be  considered  by 
one  christian  in  a  thousand.  Far  away  be  banished  the  idea  of 
its  being  a  kind  of  interlude,  for  the  entertainment  of  a  congre- 
gation, and  the  relief  of  the  preacher  from  continual  exercises. 
Look  into  your  Psalm  and  Hymn  books,  and  consider  the  spirit 
which  breathes  through  their  pages.  It  is  the  spirit  of  adoration 
to  God,  and  of  praise,  humility,  supplication  ;  and  of  grati- 
tude, faith,  love,  hope  and  joy.  It  is  the  spirit  which  should 
breathe  in  every  note  of  music  :  and  to  this  end,  the  music 
should  be  made  such  that  it  shall  be  a  suitable  vehicle  for  such, 
sentiments.  Insincerity  should  be  dreaded,  as  sin,  in  this  exer- 
cise, as  much  as  in  prayer.  The  hearts  and  voices  which  join  in 
it,  here,  should  have  the  feelings  which  swell  the  anthems  of  the 
redeemed  and  of  the  angels  of  God  around  the  eternal  throne. 
This,  therefore,  obviously  renders  personal  piety  an  important 
qualification,  in  those  who  conduct  this  part  of  religious  wor- 
ship. They  need  to  know  what  it  is  to  melt  in  tender  penitence 
for  sin  ;  to  adore  and  love  the  holiness  of  God  ;  to  live  by 
faith  in  Christ  Jesus  the  Lord,  and  in  the  spirit  of  prayer. — 
With  none  else  can  this  be  an  act  of  worship  acceptable  to  a  ho- 
ly God. 

With  such  requisites  as  these,  it  is  to  be  seen  what  the  sacred 
music  of  any  church  and  congregation  may  be  made.  Gather 
a  choir,  thus  educated  and  aided,  in  the  place  of  worship  ; 
their  hearts  burning  with  the  spirit  of  true  devotion,  and  with 
theirs  the  hearts  of  their  fellow-worshippers.  Let  their  sougs, 
exhibiting  all  hich  is  sweet,  inspiring  and  sublime  in  harmony, 
be  rendered  expressive  and   lively,  by  all  which  is  tender,  sol- 


its 

■earn,  and  devout,  in  the  aspirations  of  the  soul  to  God.  And, 
though  on  earth,  the  worshippers  may,  in  spirit,  enter  into  the 
high  praises  of  heaven.  Though  in  an  earthly  temple,  they 
may,  in  the  holy  fervours  of  the  soul,  go  up  before  "  the  throne 
of  God  and  the  Lamb."  And  the  Sabbaths  thus  employed  will 
be  seasons  of  happy  preparation  for  the  Sabbath  which  is  eter- 
nal. And  the  services  thus  rendered  and  enjoyed,  will  richly 
and  rapidly7  advance  the  preparation  of  the  true  child  of  God,  to 
strike  his  golden  harp,  and  raise  his  enraptured  voice,  in  the  an- 
thems of  eternity,  to  the  praise  of  "  Him  who  hath  loved  us, 
und  hath  washed  us  from  our  sins  in  his  own  blood." 


Gaylord  Bros. 

Makers 
Syracuse,  IM.  Y. 

PAT.  JAN.  21.  1908 


